It's a great year so far for nudecomers. No doubt about it.........Shiri Appleby (and including another of my favorite jewess and nudity dodger Jaime Ray Newman as well) joins the elite club at age of 34 in Girls: Season 2, Episode 9.

saw London, I saw France, I saw Shiri Appleby's Tits and Ass. I am in complete shock. I have been waiting for this day since the pilot episode of Roswell aired on the WB. I never thought this say would ever happen. My heart is beating like crazy and I am loosing oxygen fast.

I’m already dying and reaching for the heavens. Wow and another wow....told you guys. When nudity dodgers go wild, they do it in a major way. Shiri is now officially in top three and if only Maggie shows her tits tonight, it would be a perfect weekend for me.

earlbny:I am going to sleep good tonight. That was better then I imagined. I thought we would get a dark room and lots of different camera angles and no skin. Boy was I wrong and so happy to be wrong. She is a nudity dodger no more. That was hall of game nudity. BTW I am all bruised from pinching myself. I spent the past hour thinking my arm clock was going to go off. I am even more excited for Next week episode. Thanks again for the info and caps. You rock. I am off to dream land now. Talk to you real soon.

After watching that scene I can't imagine what was going through her head? What we saw must have been so different then what it looked like while filming that. Shiri did not just put her toes in the shallow end and gradually make her way to the deep end. She dove into the deep end head first. Props to her because that must have been real hard especially for your first time. She did a great job. I expected a poorly dim lit room and a lot of fooling around with clothes on and then at the 1:00 mark get a super blurry quick glimpse of boobs. A lot of times there is a lot of build up and hype and then a complete letdown.

I’m so glad this was not the case. It’s funny how with Chicago Fire she tweeted that she was going to be on but not with Girls. While I know Shiri is technically too old to play the female lead in 50 Shades had she been a few years younger she would have been perfect. Last night episode was proof of that. BTW I am not the only person to ask Shiri questions about her nude debut. I can't wait for her answers. I hope this weeks episode is even better. I love her tiny boobs and dark nipples. They looked better then I could have ever imagined. That's the kind of girl you could easily bring home to meet the parents.

While I been hard on Lena and her co-showrunner for the lack of aggressiveness in persuading Allison to doff her top, kudos to the girls for filming this season nude scenes in straight angles and brighter focus. Top notch editing too.

What surprised me how comfortable Shiri looked and her superb realistic reaction after Adam spurted on her tits. I bet many of her old co-stars (especially Colin and Brittany Robertson) are surprised as well. Mind you they probably knew about the nudity (Shiri would have told them) but the jism on her tits? Colin must have rubbed one out on the same night! That cum looked mighty real to me though.

I put out there varied reasons for nudity dodgers to change their mind very late into the career andcertainly age factor plus dwindling offers played a role in case of Shiri but it’s a common fear among women that the breasts will never look the same again after giving birth. Maybe this is also Shiri way to show the world the natural perfection she hidden away for so long before going for the inevitable plastic enhancement.

Mainstream Media reactions are coming in slowly but will pick-up steam quickly enough:

Talking Sex Scenes on TV (Including, Yes, 'Girls') at SXSW

Any discussion entitled "Changing Rules for Women and Sex on TV" was bound to include mentions of a certain HBO comedy series. The always provocative "Girls" was certainly a central topic at Saturday's SXSW panel, which was moderated by ThinkProgress' Alyssa Rosenberg and populated by fellow journalists Noreen Malone (of The New Republic) and David Haglund (of Slate), as well as Sarah Shapiro, the writer/director of "Sequin Raze," a short making its world premiere at the festival, and Anna Camp ("The Mindy Project," "True Blood"), the film's lead.

The group dug into Lena Dunham's young career and the portrayals of sex, relationships and nudity in her show, along with the power dynamics of the intimacies of "House of Cards" and what constitutes a good sex scene. While the panel covered a lot of interesting ground, some familiar to anyone who follows the work of the writers on it, the most interesting viewpoint may have been that of Camp, who as an actor has participated in her fair share of sex scenes and who has to navigate them as part of potential roles.

Camp spoke about scenes in "Mad Men" ("I feel like competing to prove myself worthy of him sexually," she said of the blow job her character Bethany Van Nuys gave Don Draper in a cab) and in "House of Lies" (she auditioned for the role that ultimately went to Kristen Bell, leading her to ask if instead "Can I be the woman who screams 'I'm squirting!'?").

Actors have to give their trust to the directors, writers and producers in charge of the project, which she noted can be frustrating or frightening. "I want to be picky for when I do that," she said of sex scenes, noting that many of them were just the "same male fantasy" and that it was often taken for granted in films and TV that attractive characters would have great sex, but that she was interested in getting beyond the usual depictions.

The scenes that dominated the conversation included Dunham's several with Patrick Wilson in that much-debated recent episode of "Girls" (he was an "idealized male figure instead of an idealized female figure," noted Haglund, who was actually not a fan of the installment) and the Melissa Leo segment from the past season of "Louie." Camp cited as noteworthy the scene in "Mad Men" involving Jessica Paré's Megan Draper and the white carpet. Shapiro brought up the scene in the pilot of "Girls" in which Hannah (Dunham) refuses Adam (Adam Driver) when he goes off to get lube ("to be grounded in your own body enough to say 'I don't want that'" was striking to her).

Cable is, for obvious reason, the home for most of the shows that were discussed, but the freedom to be explicit wasn't always, for the panelists, a good thing. Haglund spoke of how quickly "Homeland" managed to show a nude Morena Baccarin, saying that the cable-style rush to that made him distrust the series at times, Malone noted that it's often the lead-up to sex that's more interesting ("I want a good buildup") and Shapiro said that for her, "the sexiest thing in the world is the closed door."

Network TV has generated discussions of its own in how it's dealt with one of the consequences of sex -- pregnancy, including how some characters have dealt with fertility crises. Rosenberg pointed out Robin Scherbatsky's (Cobie Smulders) learning that she can't have children in the past season of "How I Met Your Mother" and Cece's (Hannah Simone) finding that she only has a limited window in which to conceive on "New Girl." Watching the latter development, Malone said that at first "I was angry that one of my favorite TV shows was inciting this personal panic in me," but then realized that it was a natural part of the conversation. As these characters approach or begin their 30s, it's something they would think about, because "sex is not divorced from childbirth." It may not be as audacious as Hannah Horvath's hookups, but shows "would be leaving rich territory unexplored if they didn't" go there.

* Except for that full-frontal on the stage with Harry Potter, Anna Camp has dodged on-screen nudity.

Sequin Raze Trailer

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* in wake of Melissa King porn scandal, a timely look at foster home care.

There is undoubtedly a potential bad version of "Short Term 12" that writer-director Destin Daniel Cretton ("I Am Not a Hipster"), fortunately, didn't make. The movie, which follows the experiences of staff and patients at the eponymous foster care home for at-risk teens, contains a series of sentimental hooks without overplaying any of them. Cretton's screenplay pulls off a tricky balance of imbuing its story with emotional weight while not coming across as cloying in the process. The situation is inherently dramatic, but the filmmaker complicates it with characters worth rooting for.

That success is aided by impeccable performances all around. Brie Larson, to date best known for her role on the now-defunct "United States of Tara," delivers a tremendously involving turn as Grace, the young supervisor of the facility drawn into the distinctive needs of various patients while maintaining a warm relationship with co-worker Mason (Jason Gallagher Jr., subdued but equally believable). Behind closed doors, they engage in charmingly believable romantic chatter, but when among the patients they display a different sort of passion subtly realized over the course of a patiently constructed narrative.

Driven by their own history of problems that led them to the facility in the first place, Mason and Grace treat their jobs as a ways of life; in turn, the movie rarely leaves the foster home, inviting us into their routine of taming angry youth and exploring the cycle of overcoming personal hangups in intimate detail. But Cretton balances off the serious material with intensely likable protagonists whose penchant for cracking jokes under duress -- restraining tantrum-riddled patients, for example -- deepens their credibility and eases us into environment before advancing its poignancy.

Jason Gallagher Jr. and Brie Larson in "Short Term 12."

With its roots in a 2009 short film, "Short Term 12" benefits from a cautious approach that never simplifies its scenario. A familiar conundrum involving the couple's accidental pregnancy unfolds over the course of the running time without threatening to overtake other issues at stake. These include the arrival of a particularly difficult intake, Jakie (Katlin Dever), a young woman from a background of home abuse not unlike the ordeal Kate herself once endured. Meanwhile, tough guy Marcus (Keith Stanfield), demonstrates a penchant for incisive hip hop compositions and professional aspirations lurking beneath his sullen exterior.A far cry from "One Flew Over the Cuckoo's Nest" caricatures, "Short Term 12" is imbued with enthralling naturalism, right down to a cast that includes real patients. Though their plights are ultimately familiar ones, Cretton explores their communicative challenges by emphasizing an ongoing incapacity to fully communicate without lashing out. In an amusing contrast, a newbie staffer (Rami Malek) continually struggles to figure out the system of behavior that keeps the facility from devolving into utter chaos. But the answer is continually obvious: Just as "Short Term 12" never simplifies the setting, Mason and Grace treat the teens with similar compassion.

Taking its time to let the world take shape, "Short Term 12" builds to an involving series of mini-climaxes without tidying up every loose end. The movie celebrates the struggle to live through each day by showing its reverberations across two generations of people facing the same challenges of developing confidence and personal responsibility, but those grand terms are rendered on a tangible scale. Instead of overstating its core ideas, Cretton reveals them through the minutiae of conversation, with Grace championing a commitment to "talk about what's going on inside your head." By the end of "Short Term 12," we're not just in their heads but fully able to relate to them.

Criticwire grade: A

HOW WILL IT PLAY? Among the best-received of the competition entries at the SXSW Film Festival, "Short Term 12" is destined to become a breakout festival hit and find a welcome reception in limited release carried by strong word of mouth as well as Larson's developing fame.

SXSW Review:'Short Term 12' A Heartrending, Heartwarming and Authentic Portrait of Life At A Foster Care Facility

It’s Nate’s (Rami Malek) first day at the adolescent foster care facility Short Term 12, and his new coworker Mason (John Gallagher Jr., scruffy and soulful) is regaling the staff with a silly monologue about an unfortunate sharting incident he suffered in the line of duty. It's a funny tale, but it also lays out exactly what kind of people these workers are, willing to forego all bodily comfort in order to make sure these kids are okay. They’re a no nonsense bunch who’ve seen it all and remain unflappable, particularly supervisor Grace (Brie Larson), a steely and impenetrable young woman. They don’t even blink when a skinny kid with bright red hair goes bolting out of the house in his long johns, making a break for it. They just toss their coffee and tackle him on the front lawn before he gets past the gate and past their jurisdiction. This is the opening to “Short Term 12,” the second feature from writer/director Destin Daniel Cretton, based on his short film of the same name, which won the Jury Prize at Sundance in 2009. And even though it is a lightly amusing intro to our main characters and where they work, it’s a strong set up for the themes that will be revisited throughout the film, in the touching story of these young workers and their charges.

“Short Term 12” brings a true authenticity to the inner workings of this facility, and the tone is pitched perfectly, fusing serious issues with a touch of humor, a lot of heart, and a healthy dose of realism. This is probably due to Cretton’s own experience working in a facility of this nature, and it serves the film well, as what could drift into melodrama or sentimentality is always righted by the realistic and delicately varied tone of the film. Real life drags people through a lot of different emotions from moment to moment and the film captures just that. The troubles these workers see are just another day at the office for them, but that doesn’t mean they’re uncaring – quite the opposite. They put their bodies and hearts on the line for these kids, strongly bonded to them, even though they sometimes have to push those feelings away in order to do their jobs.

Brie Larson manages this perfect pitch of tone in her riveting performance as Grace, the center of this story, and the true embodiment of this quandary between work and personal life. She’s dating her coworker Mason, and a new resident (Kaitlyn Dever) at the home has her revisiting her past life in a way that is throwing everything in the present into tumult. The majority of the story takes place over about a week when Grace has some major life decisions to make on top of everything else going on at the facility, and Larson takes on the heft of this multi-faceted role with ease. She manages to convey her character as someone fierce and strong and steely, and also utterly fragile, delicate, scared and broken. It’s an incredible emotional and physical performance, and she’s a whirlwind, whether chasing down a kid, worrying at her cuticles or smashing something in cathartic anger.

The storytelling is deliberately structured, drawing you in instantly to these characters and then allowing their stories to open up like an onion, reveal after reveal leaving the viewer devastated, hopeful, or breathless with suspense. What Cretton did so well in his first feature, “I Am Not A Hipster,” was hold certain things back so that they were that much more powerful when revealed, and he does that again and again in this script. You care about these characters as workers before you know their histories, which, when revealed, illuminate and deepen them further as people. These reveal moments can be both shocking and touching, but everything fits together like a puzzle, all of the pieces scattered throughout the film finding their place.

It’s gorgeously shot, many images still lingering in mind: Mason and Grace jumping in a bouncy house; the resident workers running in slow motion after a kid on the run. The cinematography creates an eye-level and visceral naturalistic experience of this world, capturing moments in unexpected ways. Ultimately, the cinematography does what it’s supposed to do: reflect the themes and goals of the film itself, beyond just looking beautiful. “Short Term 12” expresses its serious subject matter in a fresh and authentic manner, never relying on the content itself to keep the viewer’s interest but how it unfolds for the audience, anchored to these characters who we grow to deeply care about. In the end, “Short Term 12” is a roller coaster of every emotion, managing to be both heartwarming and heartrending at once. But what a great ride. [A]

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New Images Of Paris Hilton, Leslie Mann and More From Sofia Coppola's 'The Bling Ring'

by Kieran McMahon

With the release date on the horizon, we can expect a steady drip of photos and trailers from Sofia Coppola’s latest film "The Bling Ring" over the coming months. The film is a true-crime drama based on the events surrounding a group of Los Angeles teenagers who went on a celebrity-obsessed burglary spree in October 2008. They targeted the homes of starlets such as Paris Hilton and Lindsay Lohan and by the time they were found out in August 2009, the gang had stolen nearly $3 million worth of luxury gear and been given the nickname The Bling Ring.

The film focuses on two adopted sisters (played by Emma Watson and Taissa Farmiga) who were featured on E! channel’s party-girl reality show "Pretty Wild" in 2010. As details of the crime emerged, the show went on to record the fallout from The Bling Ring saga on screen. Emma Watson’s character, Nicki, is “the most vapid of the gang” and “she loves her Juicy sweat suits and Uggs and hair-extensions and quasi-spiritual back tattoo,” costume designer Stacey Battat told EW in the print edition of this week's magazine. Battat, who also worked on Coppola’s previous film "Somewhere," considers the wardrobe an integral part of the wayward group’s identity saying, “everything the characters are wearing is stolen, that studded white leather jacket probably costs $3000. They’re wearing Herve Leger and Louis Vuitton and Manolo Blahniks. They think they’re all celebrities, all decked out.” Coppola made a point of casting young actors, most of them still school age. “It was important to cast kids who still have baby fat and that unpolished look” she says adding, “they’re trying on personalities and identities.” Bush frontman Gavin Rossdale plays a Los Angeles club promoter who helps the gang to move the loot. “I don’t want to say anything negative because some of the clothes in the movie are his” says Battat, “but we wanted him to look authentically like a sleazy club promoter. I know that bathrobe was not his!”Leslie Mann (pictured with her real-life pet dog), plays Watson's mother in the film. “She’s that Mom who thinks her kids are beautiful and obviously should be stars” says Coppola. “Hollywood attracts a lot of people like that.” Taissa Farmiga, younger sister of "Up in the Air" star Vera Farmiga, says “...they wanted anything that’d been touched by a celebrity or worn by a celebrity or hung in a celebrity’s closet. They were lost, they didn’t have the best parents and tabloids were telling the how great it is to be famous and have money and no boundaries.”

"The Bling Ring" will mark the fourth time Coppola has returned to the subject of celebrity after touching on it with "Lost in Translation," exploring historical celebrity in "Marie Antoinette" and examining the more destructive side of fame in 2010’s "Somewhere." “My biggest challenge was to make them sympathetic” says Coppola, who refers to teen classics like 1979’s "Over the Edge" and 1980’s "Foxes" as major influences on the project. “I feel like you can sort of understand how they would get caught up. We live in a culture where people are famous for doing nothing other than being a personality”.

"The Bling Ring" hits theaters on June 14th. Check out these new images via EW below.

SXSW Interview 2013: Cast And Director Of The Bounceback

Air sex. Yes, air sex. It’s a real thing and the SXSW entry “The Bounceback’s” got it. But the Austin-based movie is also about more than that.

It features Ashley Bell, Michael Stahl-David, Sara Paxton and Zach Cregger as Cathy, Stan, Kara and Jeff, a steadfast quartet of friends whose relationship breaks down after Cathy heads to New York for med school and Stan goes to Los Angeles to become a writer. When Stan finds out Cathy is heading home to visit Kara, he immediately books a flight to Texas in hopes of rekindling their romance. Meanwhile, the connection between Kara and Jeff has dissolved, too, but, unlike Stan, Jeff skips the moping and emotes by expressing his frustration through an air sex competition. While wading through air humping sessions and a comedy of errors, the foursome also taps into some serious territory to decide what’s best –rekindle old romances or just leave the past behind.

Don’t let this interview fool you; “The Bounceback” is very much about relationships, both friendships and romantic connections, but when Stahl-David, director Bryan Poyser, Bell and Paxton aren’t digging deep, discussing the Austin-based film community and the challenge of bringing the characters to life, the conversation descends into loads of sexual silliness, all topped off by a remarkable cameo by Cregger himself.

* Ashley eyes scares the bejesus out of me but I still fuck her brains out. Infectious laugh. Listen to Ashley reply from 10:05. Interesting....both Ashley (her first sex scene) and Sara grind hips with the guys in the movie. OMG! Sara did a Alison Brie during air-sex segment.

One of the main arcs of The Bounceback involves Jeff’s quest to win the Air Sex competition (think of an air guitar competition…now replace guitars with sex…it’s that simple). Jeff, performing under the brilliantly unsubtle stage name Fuckasaurus Sex, channels all of his rage and heartbreak over his loss of Kara into what, in their own way, eventually becomes elaborate freeform interpretive dance routines chronicling the experience. Though it would be easy to criticize the film for spending too much time on the air sex scenes (and there is a lot of time spent on air sex scenes) they never ceased being laugh out loud hilarious.

Writer-director Jessie McCormack’s “Gus” is an actor’s film and she knows it, keeping a light hand on the camera and letting her cast take the lead in bringing the characters to life in a notably natural way. Radha Mitchell, Jon Dore, Michelle Monaghan and Michael Weston make for an absolutely delightful quartet, all relatable and real in their own ways, resulting in both hearty laughs and honest drama.

Lizzie and Andie (Radha Mitchell and Michelle Monaghan) are best friends. In fact, they’re so close that when Andie winds up pregnant after a one-night stand, she offers to give her baby to Lizzie who so desperately wants a child, but can’t conceive. Trouble is, part of the arrangement requires that Andie move in with Lizzie and her husband, Peter (Jon Dore), during the pregnancy and Andie’s free-spirited ways don’t exactly match up with Lizzie and Peter’s quaint lifestyle. Complicating the situation further, Peter’s brother, Casey (Michael Weston), is released from rehab. Afraid he’ll relapse if he lives alone, Peter insists that Casey come stay with them as well. Throw in Lizzie and Peter’s adorable dog, Joyce, and you’ve got one very crowded home.

“Gus” touches upon some weighty issues and packs a good deal of emotion, but it’s all nestled neatly into a delightful and highly entertaining environment. McCormack has a knack for delivering characteristics and situations that feel vaguely familiar, but in creative, fresh and often very amusing ways. The piece opens up particularly strong with a concise yet telling sense of their lives through a mere casual phone call that very clearly labels Lizzie and Peter as the quintessential couple, and Andie as the eccentric friend. McCormack then adds a layer to Lizzie and Peter’s relationship by following them to their therapist’s office. Rather than use the opportunity as an excuse to douse us in exposition, she highlights one of the couple’s main issues by having Mimi Kennedy’s Dr. Grayson simply blurt out that their problems are mundane and bore her.

While “Gus” is loaded with uniquely memorable moments, McCormack does slip a little when it comes to the progression of the relationships. Some major moves feel unwarranted, but by the time the characters are making these life-changing decisions, we’ve already been so charmed by Mitchell, Dore, Monaghan and Weston that it’s easy to overlook certain plot holes and reconsider the script missteps as a way of accepting these people for who they are.

At first, Mitchell’s Lizzie appears to be the more straightforward character of the bunch. She’s a homemaker who so genuinely loves her husband. However, as the film progresses, Mitchell delicately reveals additional layers until the character utterly explodes in an emotional yet almost darkly comic tantrum. Dore puts up a fine performance as well, but Peter is the least developed and therefore least engaging of the group. All four wind up making drastic changes to their lifestyles, but as people, Peter’s the only one who still feels like the same guy.

Monaghan’s Andie, on the other hand, not only has the steepest arc, but is also just an especially colorful character. Her tendency to laugh at inappropriate things is harsh at first, but the more you get to know her, the more you appreciate her quirks. But, even while playing such an eccentric character, Monaghan manages to keep her in control just enough to make the path she takes very sensible. While Weston doesn’t get as much screen time as the other three, he still manages to earn one of the more drastic and satisfying transitions, and makes the assist in a good deal of the film’s funnier gags.

But more than anything, it’s the group dynamic that makes “Gus” such a winner. They’re strange, rigid, silly and occasionally offensive, but it’s that unpredictability and the cast’s honest chemistry that makes them pleasant to spend time with and makes you want to stay by their side when things get complicated.* What are the chances of seeing Michelle topless? She could been comfortable with the female director and her character is the type we typically encounter in indie flicks - carefree and always doing something against the grain.

Playmaker OnlineThe movie stars Radha Mitchell (Silent Hill, ABC’s Red Widow) as Lizzie and Michelle Monaghan (Kiss Kiss Bang Bang, Mission Impossible III) as Andie. Lizzie and her husband Peter (played by Jon Dore) are trying to get pregnant and have somewhat of a dysfunctional marriage where they often shift between loving each other and fighting over little things. Even with medical help, they’re having trouble getting pregnant. But when their friend Andie gets pregnant she moves in and decides to give the baby to them after it’s born. Peter, having financial troubles because he can’t find a house for a potential buyer, is trying to take care of his adopted brother Casey (played by Michael Weston) after he gets out of rehab so Casey moves in with them as well. All of their lives take a sharp turn after Andie and Casey have a romantic encounter, changing them forever.What saves this movie from a C though is that the performances from the actors are really good, especially Monaghan. You almost don’t recognize her because she’s never played a character like this one, and that is conveyed not just in her dialogue but in the way her hair and makeup are done as well as her wardrobe. All she does it start shi* up, and those kinds of people are always interesting in a movie. At the same time, there’s a lot of depth to her character that’s revealed as the movie goes along.

SXSW Interview 2013: Gus’ Michelle Monaghan And Jessie McCormack

The idea of a woman giving her own baby to a friend who so desperately wants one, but can’t conceive sounds like a weighty core concept through and through, but Jessie McCormack’s “Gus” strikes a unique balance between heartfelt drama and natural comedy, and that’s what attracted talent like Michelle Monaghan to the project.

Monaghan stars as Andie, Lizzie’s (Radha Mitchell) longtime friend. When Andie winds up pregnant after a one-night stand, she commits to giving her unborn child to Lizzie so she can finally start a family with her husband, Peter (Jon Dore). Trouble is, before that can happen, Andie needs help getting through the pregnancy so moves into their home where her free-spirited lifestyle doesn’t mesh well with Lizzie and Peter’s more regimented way of living. Complicating the situation further, Peter’s brother Casey (Michael Weston) is also released from rehab and, with no one else to keep an eye on him, Peter feels obligated to bring him into their home as well. Throw in Lizzie and Peter’s dog, Joyce, and you’ve got one very full, tumultuous household.

While celebrating the film’s big debut at SXSW, Monaghan and McCormack sat down to run through how “Gus” came to be, the challenges of shooting a low-budget film, the craft of balancing comedy and drama, the film’s unforgettable four-legged star, and much more. Catch it all for yourself in the video interview below and keep an eye out for part two of our “Gus” coverage, a one-on-one interview with Radha Mitchell.

Always love when cast members in attendance are seeing the completed film for the first time & just as stunned. Great Q&A for #plusonesxsw— Larry Richman (@larry411) March 11, 2013

Twitch FilmAshley Hinshaw and Natalie Hall are persuasive as a wronged woman and a fantasy figure, respectively. Unfortunately, they are the mere objects of affection for the film's ostensible leads, Rhys Wakefield and Logan Miller, who are not able to rise above the limitations of their material.David (Wakefield) unaccountably kisses another woman in the sight of his girlfriend Jill (Hinshaw); she walks out on their relationship, leaving him to trail after her when they're both invited to a massive party. At the party, David's best friend Teddy (Miller), awkwardly hits on Melanie (Hall), a woman he doesn't know; she responds to his lame humor and decides to take him to bed, right then and there.Teddy is focused entirely on having sex, and is blind to Melanie's other charms. When everything begins to go to hell, he remains completely self-involved, until the script needs him to expand his scope of concern. Iliadis displayed considerable skill as a filmmaker with the Last House on the Left remake, committing fully to the more odious aspects, while jerking the narrative forward in uncomfortably irregular spasms. In Plus One, he commits fully to presenting an adult-oriented college party movie, complete with strippers and other bared bodies, along with copious amounts of alcohol and foolish behavior.

* Holy crap! I'm now more than sure Natalie Hall did her first nude scene(s) in the movie.

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Julia Garner Talks SIN CITY: A DAME TO KILL FOR

Actress Julia Garner talked with Movieline about Sin City: A Dame To Kill For. She says she shot a few 'special' scenes but wouldn't divulge any further details (at 2.15)

Jennifer Love Hewitt: My 36C breasts are worth £3million

The I Know What You Did Last Summer star reckons her womanly curves are so valuable she is considering having them insured.

JLH said: ‘I need, like, an insurance invitation. If somebody was like, “Hey, you know what? We would like to insure your boobs for $2.5 million dollars,” I’d be like, “Do it. Love it! Why not?” These things right here are worth $5 million!’

The actress is a pro at flashing her breasts in her sexy show The Client List.

Meanwhile, the 33-year-old has revealed her grandmother calls her a ‘TV ho’ over her saucy screen roles.

The ‘Client List’ star, who plays a former beauty queen turned massage therapist in her new show, told the USA Today newspaper: ‘My grandmother loves to call me the TV ho. She thinks it’s hysterical. . . I get to rub abs for a living. I never thought that that would be my job, so that’s exciting. It’s a hard job, but somebody has to do it, and I’m glad it’s me!’

* It's too late for that. At 33 and with the size of her melons, they will droop in about a year or two. From priceless to worthless.

+++++++++++++++++++++++++++++++++++++++++* I've never seen Phil this pissed off on last night The Amazing Race: [Season 22, Episode 4]. Can see it in his face that he really wanted to bitch-slap the guy for all the crap coming out of his mouth. The dude had the X-press pass (which allows a team to skip the roadblocks and head straight to the pit-stop) and a gorgeous GF insistence to use it but the fool did his own thing even when there was couple of teams performing the final road-block ahead of the young couple. He wasted more than an hour searching for the right surf board. Jessica, do the right thing (her expression after the elimination was priceless). Dump the clown...

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Harmony Korine understands Emma Roberts quitting Spring Breakers.

Director Harmony Korine has no hard feelings against actress Emma Roberts for dropping out of his new crime movie Spring Breakers, insisting his style of filmmaking "is not for everyone".

The Scream 4 star, 22, was initially signed up alongside Selena Gomez and Vanessa Hudgens to shed their clean-cut images and play college students gone bad, but she ended up pulling out of the project - and Korine can understand why.

He tells the New York Post, "That was just - what do you call it? Creative differences. I make a specific type of film, and it goes hard. It's not always for everyone."

Ashley Benson was hired in Roberts' place and she is featured in the film getting drunk, puffing on cigarettes and engaging in a raunchy threesome with Hudgens and James Franco's drug dealer character, and Korine knows the edgy sex shoot wasn't easy for his young leading ladies.

He says, "I think at times it was overwhelming for them. But I thought that was part of the scene and that's how they should be feeling."

The intimate scenes even prompted former Disney star Hudgens to rule out taking part in any other sex shoots in the future - she previously said, "It was very nerve-racking for me. I told my agent that I never want to do it ever again."

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Review:DIRTY BLOOD Serves Up Its Revenge Tale with a Twist

Originally seen during the Puchon International Fantastic Film Festival (PiFan) 2012As a society Korea has been slow to change despite its economic growth. At times it can seem like a gigantic, perpetually simmering pot of discontent that seems dangerously close to boiling over. One aspect of Korean society that is often brushed under the carpet is repressed sexuality and while it isn't something you will encounter much in TV dramas, music and the news, the Korean film industry, of late, has been vocal in its depiction of the widespread abuse that rages through the country. Truth be told, it is often used opportunistically and many of the works in question tread a very fine line.

Dirty Blood is one such film that exists in dangerous territory. While other 2012 features that examined sex crimes in an aggressive fashion, such as Don't Cry Mommy and Azooma, did so in a relatively black and white fashion. Director Kang Hyo-jin opts to operate in a grey area, much like Lee Don-ku did with his incendiary debut Fatal, also last year.

A young girl is getting ready to leave as an exchange student for Spain but her terminally ill mother has something to tell her before she does. She discovers that her father was a man who raped her mother, news that quickly throws her life into turmoil. Now she has a new plan, and she seeks out her biological father. Pretending to be someone else she ends up living with him and begins a dangerous sexual game.

Offering a slightly different spin on the traditional revenge formula, Kang's third film takes a very touchy subject but instead of concocting a thriller around it, he opts to take a much darker route. The central character, when confronted with a serious identity issue, almost loses her grip on reality. She quickly tosses away her innocence and soon allows herself to enter a depraved cycle. It's a brave move, if perhaps an extreme one, as it highlights some very complicated emotions surrounding sex, especially in a country where in the public sphere at least, it is still a taboo.

Given the acts she begins to engage in on screen, the film also becomes somewhat perverse as we are invited to witness, in a scopophilic way, the desecration of her youthful virtue and virginal body. It's upsetting to be confronted with her existential crisis, but being subjected to so frequently pushes the film to an extreme, and this can be viewed in either of two ways.

First of all, it could be that the voyeurism we engage in is designed to implicate us in the girl's moral downward spiral as it reveals something dark within us: this applies especially to male viewers. Even though we may be appalled by what is unfolding before us, we are compelled to keep watching as some dark pleasure is derived from her slide into iniquity. Though I understand where I think the filmmaker is coming from and I do applaud the complexity he may be trying to convey, I do have mixed feelings about the way in which he's gone about doing it.

Secondly, the film winds up far too long as a result of the constant drubbing we are subjected to as we behold the protagonist's corruption. At 130 minutes, our extended witnessing of a sweet girl tossing her life away and throwing herself at all comers is a relentless assault. The point is made early on but the repetition is almost cruel for viewers as well as the character, and by extension the actress who plays her.I'm also not sure if the conclusion was a successful one, given what had transpired before. Without revealing anything I would say that logically speaking, perhaps it made sense, but I don't think it followed through on the emotions it explored and developed throughout its running time.

All in all, Kang Hyo-jin's film is a mixed bag but a compelling one at times. A pertinent issue is being explored, the emotions on display are raw and affecting, and the performances are strong enough to keep it afloat, though the content is bound to turn off many. Lacking balance and in need of a polish, Dirty Blood is a flawed but bold work with plenty of merit.

First time nudity by 22-years old newcomer Yoon Joo in Dirty Blood. Pretty restraint by Korean standards.

(jump to 23:30 and 26:00)

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'Nurse Jackie' Season 5 Trailer

New guest stars Morris Chestnut and Betty Gilpin make their debut on the Edie Falco starrer.

Jackie may now be clean and officially divorced, but that doesn't mean her life is any less complicated on Showtime's Nurse Jackie.

In the newly released trailer for the upcoming fifth season of the Showtime dramedy, Akalitus (Anna Deavere Smith) is back barking orders as All Saints bulks up its staff with the arrival of a handsome Army doc named Ike (Morris Chestnut) who takes over as chief of the ER and the preppy Dr. Carrie Roman (Betty Gilpin) -- who immediately catches the eye (and a handful) of Dr. Coop.

Yep. Certainly bigger than Jaimie.

Elsewhere, Jackie (Edie Falco) sparks up a potential new romance with the cop who responds to her car accident seemingly moments after her divorce is finalized. In a shocker, she fully discloses who she really is -- an over-worked, recently divorced mother of two and a recovering drug addict -- during their first potential date.

Amid all the changes this season, it's the return of Bobby Cannavale's contentious Mike Cruz that piques our interest the most -- is he back for more than just one episode? One can only hope.

Check out the season five trailer, below, and hit the comments with your thoughts.Nurse Jackie returns April 14 at 9 p.m. on Showtime under new showrunner Clyde Phillips.

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Selena Gomez: Being a Disney Star Made Me "Crave" Raunchy Role

Vanessa Hudgens and Selena Gomez attend the 2013 Vanity Fair Oscar party at Sunset Tower on February 24, 2013 in West Hollywood, California.

From wholesome and Disney to raunchy and druggy. In a time-honored Hollywood tradition, former teen actresses Selena Gomez and Vanessa Hudgens are hitching their stars to edgier, more provocative fare in the hope of jumpstarting the next, more grown-up phases of their careers.

In a recent New York Times article, the two Disney acolytes (Hudgens starred in the studio's High School Musical series and Gomez wrapped up the final season of its hugely popular Wizards of Wavery Place a year ago) open up about their roles in provocateur/filmmaker Harmony Korine's Spring Breakers, a movie described in the article as "a druggy, violent, hypersexualized tale of innocence squashed."

"Disney is a machine, and I’m grateful for it, but I feel like being part of that environment made me crave the reaction from other projects even more,” Gomez, 20, told the Times. “Creatively this is where I wanted to go.” In the movie, she plays one of four bikini-clad girls gone wild who rob a bank to fund their spring break vacation.

Vanessa Hudgens and Selena Gomez riding scooters in bikinis on the set of "Spring Breakers" filming in St. Petersburg, Florida on March 13, 2012.

Hudgens shares the same career-changing goal. “I want people to look at me not as that girl from High School Musical, but as an actress they admire,” the 23-year-old said. “With Spring Breakers I’m looking for a reaction for sure. I want to shock people.” In one scene, her character, Candy, holds a loaded gun while James Franco's drug dealer character pretends to perform fellatio on it.

“It was an amazing opportunity for us,” Hudgens continued. “Selena and I are both young, finding our footing, wanting to grow.”

Gomez concurred: “I’ve never been part of a movie I would watch over and over again, and I’m really proud of it."